Composer: Richard Wagner
Orchestra: Frankfurt Radio Symphony
Conductor: Andrés Orozco-Estrada
Number of Discs: 1 CD
Format: FLAC (tracks)
Bit Depth: 24bit / 48kHz
Number of channels: 2.0
Label: RCA Red Seal
Size: 819.4 MB
Scan: yes (PDF)
Richard Wagner – Overtures and Preludes (2019)
Richard Wagner (1813-83)
01. Der fliegende Holländer: Overture 10:21
02. Lohengrin: Prelude to Act 1 9:10
03. Tristan und Isolde: Prelude to Act 1 11:57
04. Mild und leise ‘Isolde’s Liebestod’ (from Tristan und Isolde): orchestral version 8:02
05. Parsifal: Prelude to Act 1 15:00
06. Tannhäuser: Overture 15:09
07. Rienzi Overture 12:03
Leading the Frankfurt Radio orchestra, the hr-Sinfonie Orchester, conductor Andrés Orozco-Estrada is performing and recording the great repertoire of symphonic music. His 100% Wagner programme brings together a selection of overtures and preludes. No singing: just orchestral music. Siegfried is absent here, as is the Tetralogia, along with the preludes from the third acts of Parsifal and Lohengrin. But as a whole, the record – a single disc, unlike Marek Janowski’s double album for PentaTone – is well-put together.
Heading the German outfit, Orozco-Estrada blazes a new path among the operas of the great Builder of Bayreuth. The programme moves through the pieces in chronological order of composition. The Flying Dutchman starts the proceedings, followed by Lohengrin and Tristan and Isolde forms a bridge to the high point that is Parsifal. Then the clock turns back, as Tannhäuser leads us on at last to Rienzi. It’s a daring move to finish on this work from Wagner’s youth! That said, the listener will recognise the value of this precious overture. Of course, in the middle of the score, the rolling snare drums herald the rather pompous tone of the final military march, punctuated with cymbal crashes. But that shouldn’t overshadow the passages of great beauty which recall – and come on, you’ve just listened to it – Tannhäuser, in particular the combination of the choral pilgrims’ motif against a barrage of strings.
The Flying Dutchman, the first work to break with opera in the same manner as Meyerbeer, greets us in medias res, in Wagner’s dramatic laboratory, where wonderful worlds are born. Impeccable brass and agile strings, an interplay of finely-balanced volumes, structures and textures: the orchestra buffets the Dutchman, sets Lohengrin aflame, rumbles around Tannhäuser and demonstrates how these pages contain all the ingredients – thematic, dramatic, lyrical – of the drama, in embryo. We will wait faithfully for a complete Wagner with these superb musicians in the pit!